Quality Of Late 1930's Wheatstones?

[Daniel Hersh]

There are lots of mentions of "top period" Wheatstone concertinas (from about 1910 to 1930, I believe?) and there's been a fair amount of discussion here about the ones made after World War II. But what about the Depression-era ones from the late 1930's? I know that they did not have riveted actions and they did have brass-framed reeds set in dovetailed reed pans. Beyond that, how does the reed quality and overall construction quality of the Depression-era Wheatstones tend to compare with the ones that came before and after? And are there significant differences in quality between the different Depression-era models (e.g. metal vs. rosewood vs. ebony vs. mahogany ends, or raised ends vs. not raised)? I think that I read somewhere that the quality of the leather used on at least some of the late 1930's Wheatstones was inferior to what was used earlier - but leather parts can be replaced if necessary.

 

I realize that with vintage concertinas, even two concertinas of the same model from the same year can vary in quality and it's best to try them out before buying. But for those of us who live far away from all the dealers, general guidelines can be helpful too.

[Paul Read]

I've had a few of these pass through my hands, one just a couple of weeks ago, and they can be as goos as the golden era ones inside although the outside materials tend to be cheaper.

Edited March 4, 2014 by Paul Read

[SteveS]

I have a tenor from 1937 and it's every bit as good, internally and externally, as an instrument from the "top period".

[Daniel Hersh]

I've had a few of these pass through my hands, one just a couple of weeks ago, and they can be as goos as the golden era ones inside although the outside materials tend to be cheaper.

I have a tenor from 1937 and it's every bit as good, internally and externally, as an instrument from the "top period".

 

Thanks, Paul and Steve! Does anyone else have any comments about this?

[Geoff Wooff]

I can recall only one experience with a 30's Wheatstone. This belongs to a friend and I have played it quite a few times but ,off hand, I cannot recall if it is a particularly late 30's model. It has one of the 'detrimental' features (either hook action or Aluminium reed frames) but again which I do not recall. It is a fabuous instrument 56key Metal ended Aeola Treble.

 

My point is that although it looks nice and sounds pleasant enough... I just cannot warm to it for some reason, but then I have always had "top period" models and perhaps my tastes are too refined . There are periods within the "top period" which I also do not like and I would extend backwards your stated start date to about 1895.

This perspective is based on the EC for the most part and really although I have had a lot of these through my hands it is still a relatively small sample. , Anglo periods may well differ.

 

Duets ? Well, one has to pick up what one can find... shame the Hayden was not about during the golden age.

 

Some sort of monetary value scale could be applied to these various years of production ... but in the end it comes down to the merit of each instrument and its sutability for your use. Sorry, not very helpfull am I.

Edited March 7, 2014 by Geoff Wooff

[Chris Ghent]

I have had experience with three Linotas from the late 30s. While mention is always made of the cheaper action another feature of these instruments is a plywood padboard. From the three I saw one was the most piercing concertina I have ever heard bar none. It had the most uncomfortable affect on my ears, as if a small insect was crawling around the drum. Another was in very poor condition, it had been assembled from several concertinas, there were brass tongues, steel tongues, Al frames, brass frames etc.. The third was a lovely sounding concertina, seemed to play very well. So no conclusions to be had from a small and disparate sample.

[Randy Stein]

I play a 1939 56 Key Wheatstone Aeola. It has the the sweetest tone. It allows for chording and counter melody lines that blend perfectly within the instrument. Better than any previous Wheatstone I have owned including a 1926 ebony. That one was great for concert work playing violin repertoire but chording left it tinny.

 

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[Stephen Chambers]

I play a 1939 56 Key Wheatstone Aeola. It has the the sweetest tone. It allows for chording and counter melody lines that blend perfectly within the instrument. Better than any previous Wheatstone I have owned including a 1926 ebony.

 

And the best concertina I've ever played was the 1937 48-key Wheatstone Aeola that was made for Alf Edwards - it has an incredible dynamic range, from a whisper to a roar!

[Wolf Molkentin]

And the best concertina I've ever played was the 1937 48-key Wheatstone Aeola that was made for Alf Edwards - it has an incredible dynamic range, from a whisper to a roar!

The one that's to be heard on A. L. Loyd's "Levithan" album? However, that sound has always been sort of reference to me...

 

Lucky you if it should be yours in fact!

Edited March 7, 2014 by blue eyed sailor